Oscar Bermeo, in The Latin American Review of Books, reviewing Luis Humberto Valadez’s book what i’m on (Univ. of Arizona Press, 2009):


“… the poet’s dilemma [is] simultaneously looking back on a life lived and moving forward with that life.”




Lia Purpura, interviewed by Kathleen Blackburn in The Journal, about Purpura’s book Rough Likeness (Sarabande Books, 2011):


“Both the poetic line and the prose sentence are musical units. Musical units of thought.”



J. T. Roane, writing in Black Perspectives, about the poetry of Essex Hemphill:


“Dominion is indictable for its denaturing effects and sustained threat to the planet’s life.”




Jan Conn, author of Edge Effects (Brick Books, 2012), interviewed by Sharon Caseburg in Contemporary Verse 2:


“A goal for scientists who train graduate students is to push them as far beyond their own training as possible. To move or break through boundaries. This is also something we applaud and reward in poetry.”




Sarah V. Schweig, writing in The Literary Review about Brittany Perham’s Double Portrait (W. W. Norton, 2017):


“… belief in poetry is not a necessary condition for the existence of poetry – even for the writing of it. One can be mired in doubt and still muster the courage to put pen to paper.”




Andrea Moorhead, in Stride, writing about (and quoting from) Rupert Loydell’s Contextual Studies (Broken Sleep Books, 2018):


“What is a poet? A fabricator who understands that ‘it does not matter what things are, only what the relationship between them is’.”




Trace DePass, author of Self-Portrait as the Space Between Us (PANK Books, 2018), interviewed by Mary McLaughlin Slechta in Great Weather for Media:


“I like poetry with few easy answers, mostly just the turbine of questions.”




Taylor Mali, interviewed by Heather Lang in The Literary Review, about Mali’s book The Whetting Stone (Rattle, 2017):


“… humor is a kind of built-in barometer of understanding…”




Johanna Skibsrud, author of The Description of the World (Wolsak & Wynn, 2016), interviewed by Alexandra Pasian in carte blanche:


“I like that literature can do that for us: cause us to slow down and actually notice the structure and rhythm of language and, therefore, also of the world around us.”




F. Daniel Rzicznek, writing in The Literary Review about Mark Irwin’s A Passion According to Green (New Issues, 2017):


“… nothing can be miniaturized to the point of disappearance…”